Writing about the most hidden and terrifying monster of human existence is an extremely difficult task, one that comes with the reopening of many wounds in the soul, mind, and body of another. Writing about the most complex and bitter psychological events that, according to psychologists, are often unconsciously denied or fabricated by the individual themselves is an arduous task. This is something that the human psyche does as a defensive mechanism, reconstructing memories to prevent psychological collapse, which makes it even more difficult to access the core of events buried, hidden, or manipulated in the deeper layers of the human mind. Writing about assault, in the very meaning of the word, means intruding and reaching into the innermost dark layers of ourselves. We, as the human species, despite passing through years of living in civilization, cities, and creating ethical systems, are still capable of returning to a primitive, predatory, and unethical state. Assault means entering the boundaries of another human’s body or mind, despite their will. Assault means seizing all the existential powers of a victim, meaning an unquestionable submission and dragging the existence of another to the ground to satisfy the will of power and to perpetuate the monstrosity of the perpetrator. Global statistics report that 35 percent of us, especially women and children, have been subjected to sexual abuse. However, I find this statistic hard to believe because the rejection and denial of such a painful event is an unavoidable defense mechanism for the psyche, and most people, even in the safest societies, may avoid recounting it. In this context, it should be noted that the word “assault” here originates from the Latin word raptio, which primarily means “to abduct” and has been used here in its older sense, as opposed to the more common contemporary meaning of sexual assault.
In fact, this “abduction” means the seizure and theft of another’s freedom. If we pay close attention to the areas of life and the daily existence of humans, we realize that this kind of assault has happened to each of us repeatedly. The desire to exercise one’s power over another is not only physical; there are many psychological approaches involved as well. Let us take a look at the painting of the rape of Lucretia. Sextus Tarquinius, the son of a Roman king, rapes Lucretia, the daughter of a prominent political figure in Rome. Lucretia, who was married, commits suicide in response to this event and the immense distress it caused her. Her suicide leads to a public outcry and rebellion, which ultimately results in the abolition of the monarchy and the establishment of democracy. The rape of Lucretia is also the title of a narrative poem by Shakespeare. This painting, by the Italian artist Titian from the 15th century, is considered the most significant rape in history. The importance of this artwork lies in the fact that the rape profoundly impacted the Roman people, sparking protests that led to the overthrow of the monarchy and the creation of Rome’s democratic government.
In this image, the rape has not yet occurred. The prince is simply shown with his bare knee, while the woman’s body is covered. The posture of the man suggests his complete dominance, and his knees being placed between the woman’s legs signifies his intent to assault her.
Fear, pallor, the expression on her face, and the state of her lips all clearly show that she is genuinely terrified and incapable of defending herself. Her jewels signify her wealth.
Catholic writers tried to suggest that Lucretia had placed herself in a position where she could be assaulted, but the painter, through this portrait, shows that he disagrees with that view.
This image represents the most crucial part of the painting. A man, who is watching the scene from behind a curtain, could symbolize a group of people who remain silent in the face of assault and oppression, even when they witness it firsthand.
Let’s take a look at another artwork. Intérieur (French: Interior) or Le Viol (The Rape) is a painting by Edgar Degas, painted between 1868 and 1869, and is considered one of his most enigmatic works. The painting depicts a man standing in the doorway of a room, confronting a half-naked woman in dim light. Due to its theatrical approach and the ambiguous quality of the painting, as well as its being known by two different titles that further add to its mystery, experts have always searched for the inspiration behind this work in literary sources. However, despite the speculation, no literary description fully matches this scene.
The long shadow cast on the wall evokes the triumphant power of masculinity over a woman who, with her back turned, seems to be trying to hide an unjustified guilt. This sense of guilt, which always arises due to religious morals, is an incorrect feeling that the victim will face after any assault, regardless of age or status. This is clearly evident in the painting. The soft light illuminating the living and vibrant flowers on the wallpaper background makes the space seem overly bright and almost excessively lively. This contrasts with the fallen man’s gaze, simultaneously reflecting remorse, false pride, and his elongated shadow which further plunges him into darkness. The shadow cast on the ground, stretching excessively, draws attention to the man’s situation in deeper darkness. The innocent, seated posture of the woman conveys another silent message, one that we, as spectators, can speculate upon. The clearest message is the dominance of the man’s physical power over his victim. The man stands at the only doorway of the room in a manner that suggests he has blocked the escape route, or rather, the way of fleeing. This setting, with all its mysteriousness, conveys a sense of imprisonment and captivity.
Since Degas was a realist painter, many theories and stories have been proposed about the inspiration behind this painting. During the time it was created, Degas had a strong interest in historical stories, which led some theorists to suggest novels as sources of inspiration. However, none of these theories have gained as much global acceptance as the one proposed by art historian Theodore Reff in 1976, who claimed that Degas was inspired by Émile Zola’s novel Thérèse Raquin for this piece.
Despite all the visual cues in the image, which direct the viewer’s mind toward themes of assault, guilt, murder, or anxiety, and the various theories offered regarding this work, it seems Degas intended to pose a riddle with his unique scene-setting skills, in keeping with his belief in realistic narrative. He challenges the mind and emotions of the viewer and ultimately allows each person to interpret the image in a deeply personal way, without a definitive answer to the riddle.
As we move forward, with the advancement of science and technology influencing every aspect of human life, including art, there are now clearer examples available for examining the theme of assault in artistic works.
This artist, who personally experienced sexual assault and mentioned in his notes the constant fear of its recurrence, installed a map of Los Angeles on the wall of a gallery for one week. For each assault reported to the police, a stamp was placed on the location where the assault occurred. But why talk about assault in a gallery? Therefore, the second map of this project was installed in a public area of a shopping center in Los Angeles, where daily, based on confidential reports from the city’s central police database, the daily assaults were marked on the map. For each reported assault, a fainter mark was added for those assaults that went unreported, and the final map was installed next to a women’s support center for victims of abuse.
Here, the social role and its inseparable connection to the personal life of the artist manifest as a practical tool to address wounds and damage, or even as a manifesto to draw attention and focus on issues, ultimately leading to changes in what has been accumulated in the psychological “warehouses” of humans. There have even been instances where art has led to changes in laws and boundaries accepted in our lives. Perhaps initially, every artist creates works to process their existential and personal pain, but eventually, through the connection of the spirit of the work with its audience, art rises to a higher level and leads to fundamental transformations.
In any case, in today’s world, gaps and distinctions will still exist, and many veils might remain to prevent the psychological release and healing of wounds for us humans. In moments when a person draws closer to their animalistic nature, morality will no longer play an intermediary role. Here, only by freely expressing and describing psychological wounds in art or any form of expression can we gradually approach an ideal world where violence and savagery have fewer opportunities to manifest. Contemporary artists, through their connection to social and psychological matters, will always be the pioneers and first spokespersons for this path.